Tambores

  
Cuba

Merceditas Valdéz

y los tambores bata de Jesús Pérez
1996

Tracks:

01. Elegguá
02. Mango Mangue
03. Oggún
04. Drume Negrita
05. Obatalá
06. Yambambo
07. Yemayá
08. Lacho
09. Ochún
10. Quirino
11. Changó
12. Osain
13. Elegguá II
14. Ay Que Bueno
15. Changó II

Personnel:

Merceditas Valdéz, voc
Tambores Bata de Jesús Pérez, perc, voc (1,3,5,7,9,11,13,15)
Los Amigos with Frank Emilio, p (2,4,6,8,10)
Grupo Oru, Sergio Vitier y su grupo (12, 14)
  

Reissue of original EGREM recordings, recording date unknown
  

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Merceditas Valdés was born in the densely populated Neptuno street in Cayo Hueso neighborhood in Havana on October 14, 1928.
When she was 12 years old, and without her parents´consent, she applied to compete in the Corte Suprema del Arte and sang two pieces: "Babalú", a theme popularized by Miguelito Valdés and "La negra Mercé", by Ernesto Lecuona.
Her career began with the singing of yoruba religion prayers in amphitheaters and radio stations and her performances at Radio Cadena Suaritos´ musical programs are considered anthological. There, the participating orchestra was conducted by Obdulio Morales - composer, musical arranger and promoter of the Afro-Cuban liturgical music " together with a group of batá drums led by Trinidad Torregrosa, with Merceditas as the main soloist. For the first time, the batá drums were broadcasted by the radio, outside the temples, and many people even went to the radio station with the only purpose of greeting Merceditas at the end of the program.
  

read it all here 
 

More :)

and mucho more :)
 

Jesús Pérez on the iyá sitting in the middle
  

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Sabor Y Tumbao

  

Pacífico Colombiano
Music adventures in Afro-Colombia
2008
 
Tracks:

01. Markitos y La Sabrosura de Buenaventura - Linda Porteña
02. Grupo Saboreo - Homenaje a Petronio
03. Grupo Socavon - Homenaje A Justino
04. Grupo Bahía - Cantaré
05. Choc Quib Town - Somos Pacíficos
06. Peregoyo y su combo Vacaná - La iguana
07. Pacho Peña y su Chirimia - Las brisas del Chocó
08. Liliana Montes - Kilele
09. La Revuelta - La oya
10. La Contundencia - La Quitamarido
11. Grupo Naidy - Adios Guapi
12. Alfonso 'El Brujo' Córboda - El Piloto
13. F.P. Barrio Nuevo - La Camaliona
14. Markitos y La Sabrosura de Buenaventura - El caso del Vencedor

  

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"Pacífico Colombiano" is a compilation that showcases authentic Afro-Colombian bands (with clarinets, euphonium, brass pans, snare drums, tambora or large bombo bass drums). The tracks on the record were all taken from local productions on the Pacific coast between 1998 and 2008 and aptly illustrate the growth of characteristic Pacific sounds of currulao, marimba and chirimia.

The Pacific coast of Colombia is filled with the sounds of the African marimbas, 6/8 rhythms, Afro-Colombian brasses, ancestral chants. This album offers a tantalizing glimpse at a cross-section of rural and urban music from older and younger generations with the marimba threading throughout the album like a musical snake.
  

  

Colombia is a land blessed with a rich variation of musical tradition. Well known to the international world for its cumbia, vallenata and salsa from the Atlantic coast, the Pacific coast has remained a well kept secret until now. In the past decade in Colombia itself Pacific music has made significant inroads into the national music culture as a new generation of musicians and producers carry on the traditions of pioneering musicians. These are all featured on Pacifico Colombiano.

Otrabanda (music from the other side of here and now and then) Records is proud to introduce this fantastic music to an international (world) music audience. This album offers a tantalizing glimpse at a cross-section of rural and urban music from older and younger generations from the cities of Buenaventura and Cali and the Chocó region with the marimba threading throughout the album like a musical snake. The tracks on the record were all taken from local productions on the Pacific coast between 1998 and 2008 and aptly illustrate the growth and development of its recording industry and characteristic Pacific sounds of currulao, marimba and chirimia (the Afro-Colombian fanfare).

The Pacific coast of Colombia breathes the spirit of Africa - filled with the sounds of the African marimba, 6/8 rhythms, Afro-Colombian Fanfare, ancestral chants. The first African to arrive on the Pacific coast was not short on ingenuity: he made his marimba from hardwood palm timber; achira seeds were used to fill the guazás (the Pacific maraca). The wood was then used to create the drum family: bombos or tambora drums (for striking and singing) and cununo drums ( 'male' cununo, largest version of this drum, for rhythmic variations, and the 'female' cununo, the smaller version for marking the beat, higher in tone), with cow or goat hide drumheads. The natural environment provided everything needed to create an orchestra and an African symphony, right in the middle of the Colombian rain forest. The authentic Afro-Colombian Fanfare Band - with clarinets, the euphonium, brass pans, snare drums, tambora or large bombo bass drums - this, too, came together in the Department of Chocó.

  The artists featured range from the traditional sounds of marimba, cununo drums and vocals by Grupo Socavon and Naidy, to the hip-hop crew Choc Quib Town, the self-proclaimed purveyors of the new folklore for the younger generation, the urbane hip renditions of Liliana Montes and La Revuelta with their jazzy inflections, the "voice" of the Pacific region Markitos who also sang in the legendary King of Currulao group Peregoyo, folk music kings Pacho Peña y su Chirimia, the legendary vocalist and composer Alfonso "El Brujo" Cordoba, the impudent, rollicking chirimia masters of humorous song La Contundencia and the swinging electric currulao pioneers Grupo Saboreo and Grupo Bahia. Amsterdam-based F.P. Barrio Nuevo blends the Colombian Pacific sound with elements of the Dutch Caribbean, offering a new hybrid for the future.

get the CD here

Afro-Colombian Music

  

Some 16-24% of Colombia’s population (44 million) is of African descent, giving it the third largest Afro-descendent population in the western hemisphere after Brazil and the United States. This population, spread through different regions in Colombia, has created a rich variety of musical forms in Colombia. Although this dossier will focus primarily on the music of the southern Pacific coast, it is important to recognize this variety among the Colombian regions.

read it all here

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more Perogoyo Y Su Combo Vacaná
  

and more Marimba :)

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Tambores

 

Totó La Momposina y sus Tambores
Colombia – Musique de la côte atlantique 

1989

Tracks:

1. Aguacero de Mayo
2. Tres Golpes
3. Soledad
4. Mañanitas de Diciembre
5. El Tigre
6. Mojana
7. Puya Puyara
8. Rosa
9. La Verdolaga
10. Son de Farotas
11. El Piano de Dolores
12. Tambolero
13. La Maya
14. Peyo Torres
15. El Cascabel

Personnel:

Totó la Momposina: Chant
Marco Vinicio Oyaga: Tambor Hembra
Gilberto Martínez: Tambor Macho, Maracas
Julio Renteria: Bombo
Nicolas Rodriguez: Marimbula, Guache
Aurelio Fernandez: Flauta de Millo

 

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Totó la Momposina sings the music of the Atlantic coast backed by a percussion group that includes a marimbula or bass finger-piano and sometimes a cane flute. These days, she is an international performer very popular in France, but this is the nearest thing available to Afro-Colombian roots music, and a pleasure. This and the collection album La Ceiba are non-vallenato releases for a change. 

~ David L. Mayers

 

 

 Totó la Momposina

 

Born into a family of musicians spanning five generations, Toto learned to sing and dance as a child. Her father was a drummer, her mother a singer and dancer; their household lived with the musical traditions of "la costa". As a young woman, she traveled from village to village researching their various rhythms and dances and studying the art of the cantadora. Traditionally the cantadoras are peasants, women who grow yucca, plantain and pumpkins in the patches of land behind their huts. These women play a central role in the village culture. 

  

  

In Talaigua, Ramona Ruiz, a fine cantadora now in her eighties who tutored the teen-age Toto, continues to keep this tradition alive. In this community of peasant farmers and fishermen Ramona dispenses everything from marital advice to herbal medicine and, as a vivacious and inspired chande (fiesta and also a rhythm of Talaigua) leader, is able to rustle up a full complement of drummers, dancers and singers at a moment's notice. The songs that the villagers sing to accompany their daily tasks are performed by Toto on stage: rhythmic chants to pace the pounding of the corn, and suggestive lyrics adding spice to the monotony of scrubbing clothes in the river. Men play the drums: boat-builders, fishermen, net-menders and cigar-makers. Music and dance is an integral part of life in Mompos.

source

home

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Canto, palo y cuero

   

Martina Camargo
Canto, palo y cuero
2009

Tracks:

1. El Mohan (Berroche)     3:36
2. Me Robaste El Sueño (Tambora)     3:46
3. Guataquí (Berroche)     3:15
4. Idilio (Guacherna)     3:35
5. Nostalgia (Tambora)     3:14
6. Compadre Salvador (Chandé)     2:52
7. Los Ñeques (Berroche)     3:02
8. La Tambora De Cayetano (Tambora)     3:58
9. Daily Karina (Tambora)     2:59
10. La Luna Hermosa (Chandé)     2:53
11. Mano Saye (Tambora)     3:09
12. El Caimán En El Almendro (Tambora Alegre)     3:06
13. Hombre De La Nacion (Tambora Redobla)     2:53
14. La Petronita Olivares (Tambora)     3:18
15. El Cumbion De La Clavada (Guacherna)     3:59
16. Barbudo/ Remangate La Pollera     5:29

  

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Martina Camargo one of the best Colombian folkloric female singers with a strong and lovely voice from the Atlantic coast, she was also part of the very successful group Alé Kumá.

 

  

  The greatest afrocolombian voice in traditional roots music. A sensitive and fun album of Tambora music, a tradition played only by native drums and happy voices.

 

  

MC blog

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♥

Tambora

   

Martina Camargo
Aires De San Martin

Musica De Las Riberas Del Rio Magdalena
2005

Tracks:

01. Pan de Caracas
02. Corré morenita
03. Digan, digan
04. El playón de Santa Rosa
05. La pluma
06. Mi mamá se va a comprar
07. Tambora de palo y cuero
08. Samba llorona
09. La cuba e'
10. La muletilla
11. La Salamanca
12. La Pascua
13. Señora Colombia
14. La mina de los lobanos
15. Sombrerito blanco
16. Corocito
17. La pava echá

  

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 Martina Camargo to represent Colombia on world tour
Monday, 12 July 2010 13:27 Tom Davenport

 

 
Martina Camargo

Colombian "tambora" artist Martina Camargo has begun her world tour. The singer from Bolivar is representing Colombia in Europe and the Middle East to mark the bicentenary of her country's independence.

The singer from San Martin de Loba in the Bolivar department has embarked on a journey which will take her to Barcelona, Cairo and Beirut. She was selected by the Ministry of Culture to represent Colombia on the world stage with her traditional brand of "tambora" music. Her tour is part of celebrations to mark the bicentenary of Colombian independence.

"Tambora", derived from the Spanish word "tambor" (meaning drum), is a folkloric musical style which originated in Camargo's home town San Martin de Loba where its lively rhythms can be heard in every street corner. Much like the Venezuelan Gaita and Colombian Cumbia, "Tambora" is punctuated by the rapid beating of hands against drums made from the skin of goats or deer. These percussion instruments were introduced to the Carribean region by African slaves brought there by the Europeans.

Camargo fell in love with music at a young age. Her father Cayetano Camargo, also a famous "tamborero", would sing to her as he rocked her and her five brothers in their hammocks. In 1987 she took to the stage with the "tambora" outfit Alé Kumá. Success was quick to follow for Carmago who went on to win the Tambora Festival in San Martin de Loba in 1988 with her "Las olas de la mar" - her favorite song and a composition of her father.

Later she worked with Aterciopelados-members Andrea Echeverri and Hector Buitrago, but her breakthrough came in 2009  when the magazine "Semana" ranked her album "Canto, palo y cuero" in the ten most important productions of the year.

Carmago, who has already toured in Italy and Mexico, is anxious to see how this international audience will respond to her traditional folkloric music which, she claims, makes Colombians themselves feel more Colombian. 

 

"I want to make them shiver, I want to make them feel," she told El Espectador. "We are going to whip up a huge party with our drums."

 

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Martina Camargo y Etelvina Maldonado

 

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Trailler: "el BEAT de la TAMBORA" from Patrik Moskera on Vimeo.

 

This is the story of a town which hearts reside on its music, its relationship with the Magdalena river in the Colombian Momposina’s Depression, a place where all the “Magic sub-realism” of Gabriel Garcia Marquez’s books comes to life.

This town has an ancient earthly music tradition called “TAMBORA” a music the rises from the “BEATS” of the alegre drums, la tambora bass drum, las maracas, but mostly from the “BEATS” of the hearts of every son and daughter of this land, whose voices give melody to the “TAMBORA” and whose clapping hands sheer every second of this ground shaking music called “TAMBORA”.

This is the story of a struggle for surviving. A sound that does not wan to stop sounding; A people that does not want to let their ancestral traditions disappear in to the avalanche of globalization, A river that does not want to run dry for the contamination and deforestation of the industrial world; This is the struggle for keeping ones identity, for saving the soul of your land.

This land is called SAN MARTIN DE LOBA, and its heart “BEATS” because of the sound of the “TAMBORA” without it this town will surely die, and a part of every one of us as well.

   

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Canto y Repique de Tambor

  
Etelvina Maldonado
Canto y Repique de Tambor
Corporación Cultural Cabildo del músico - 2006

Tracks:

1.Así Así
2.Déjala Dí
3.Camisola
4.A Piá El Arró
5.Juana Gómez
6.Llego La Cumbia
7.Dame La Mano Prima
8.Llorando
9.Ron Café
10.Que Se Quema El Monte
11.Déjala Llorar
12.Manuelita

Músicos:

Cantaora: Etelvina Maldonado De La Hoz
Tambor Alegre: Orlando Oliveros,
Tambor Alegre: Víctor Medrano (El docto),
Gaita Hembra: Stanley Montero,
Bombo: Luis Ramos,
Guache: Stanley Montero,
Coros: Cecilia Silva, Vania Gelabert y Luis Gonzalez (Luchito).

Músicos Invitados:

Yovanis Pérez Chamorro, Braulio Arnold Salgado.

  

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Colombian Folk Music Legend Etelvina Maldonado Dies at 75
By WMC News Dept. Saturday January 30, 2010

  

 
Her legend was solidified in 1996 when the Alé Kumá album by Leonardo Gómez came out. It was a fusion of jazz with traditional music and it included four cantaoras, two from the Pacific region and two from the Caribbean area, combined with a jazz group. One of the female singers was Maldonado.

Since then, Maldonado became known as one of the leading cultivators of Colombian traditional music. One of her highlights was her participation at the Gran Concierto Nacional held last year, where she showcased her talent.

Colombian music critics regarded her as one of the top folk vocalists in Colombia along with Totó La Momposina and Petrona Martínez. However, her fragile health prevented her from touring.

"Etelvina Maldonado was a legend of traditional Colombian music and one of the most important interpreters of Afro-Colombian song," said Kaisha S. Johnson, Director of Touring Artists at the Center for Traditional Music and Dance. "Of particular note, was her association with bullerengue, a musical style originating on the Caribbean coast of Colombia."

Singing was her passion, but also a way to escape poverty. "Every time I went to participate in festivals, I always won or was one of the best," said Etelvina. "In one occasion I sold several of those awards for an opportunity to register my son at school. I’ve always been ready to solve any problem to further their education."
  

  

a lot more to read

 
"El bullerengue es lo mejor de mi vida": Etelvina Maldonado
  

bullerengue - A Costeño form, performed by flute-and-drum ensembles

A glossary of Colombian music
  

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